Since the advent of sound amplification, musicians have been using amplifiers and speakers in order to project their performances to greater areas. The public address (P.A.) system has been instrumental in providing this functionality. Using the P.A. system for performances, a mixing board controls the audio signal inputted to the amplifiers, as well as the signals outputted to the speakers. For amplified instruments, such as electric guitars, electric basses, and other electric instruments, there is considerable difficulty in capturing the sound from a guitar amp to be inputted into a P.A. system. Usually, a guitar amplifier will have at least one speaker housed in a speaker cabinet which provides the audio signal originating from the electric instrument. Typically, a microphone is placed on the floor in front of the speaker in order to capture the audio signal to be inputted into the P.A. system. In order to achieve the best audio signal, the microphone must be placed in the “cube” or desired acoustic zone. The “cube” is a three dimensional area of approximately one cubic inch at a point in front of the speaker housed in the speaker cabinet.
Prior to the present invention, a microphone was placed on a short stand for amplifiers whose speakers were just inches off the floor or longer stands for higher speakers. A microphone was held, unconnected to the speaker cabinet, so the head of the mike was within the “cube.” However, either movement of the stand or movement of the speaker cabinet would remove the microphone from the cube and the audio signal from the speaker would not be applicably captured. Additionally, it is typical for a performance hall or stage to have a raised floor for the performers. Vibrations ranging from the direct output of the various instruments and the P.A. tends to travel up the stand holding the microphone and create a harmonic feedback which produces a very disturbing tone. Clearly, the familiar “squeal” of a P.A. is not a desired sound. Placement of the microphone in relation to the speaker affects the sound captured. For example, the further the microphone from the sound source, the more extraneous sounds are captured. Two microphones within proximity of the same source can cause phase cancellation resulting in volume and tone levels periodically dropping when inputted to the P.A. Close proximity of the microphone to a solid surface can increase this response and “boominess” can be reduced by placement of the microphone off the axis of the speaker 90° to 45° or varying the microphone from the center of the speaker to the edge. Therefore, maintaining the placement of a microphone in front of a speaker cabinet in a predetermined location throughout a performance, to the received optimal sound from the speaker without creating harmonic resonance, is a problem for which much attention should be directed.
Accordingly, an object of this invention is to provide an amplified sound system wherein a microphone is maintained in an optimum position relative to a speaker for enhanced performance in receiving sound emanated from the speaker.
Another object of this invention is to provide a microphone mount for securing a microphone in a predetermined position relative to a speaker which is unaffected by direct acoustic vibration, or harmonic resonance that may propagate through the floor or base of a microphone stand.
It is yet another object of this invention to provide for a microphone mount which can consistently position a microphone in a predetermined location relative to a speaker, regardless of the number of times the microphone is attached and removed from the microphone mount or the mount removed from the speaker or speaker cabinet.